“French element” in the Russian art culture of the mid XVIII century

Nikulina Viktoriya Vladimirovna PhD candidate in Art History, the dpartment of Humanities, L. V. Sobinov Saratov State Conservatory; Head of Analytical Department "Glassar" LLC 410012, Saratov, Kirova Avenue, 1 vnikulina@gmail.com

Russian Russian culture was actively Europeanized in the XVIII century in two ways: through trips of Russian masters to study abroad at state expense (retirement) and through invitations to Russia of foreigners, whose creativity and activities had a huge impact on domestic cultural traditions.

At the same time, European culture, which became a "school" for Russian masters during this period, was no longer something monolithic and homogeneous by this time. By the XVIII century, the originality of European national cultures was determined, each of which acquired its own unique face. Only from afar Europe could seem like something unified, upon closer acquaintance it began to be full of a variety of diverse and even incompatible cultural forms for a foreigner.

Naturally, the reformer tsar, who led the Europeanization, naturally faced the question: which of the national European cultures should he rely on first of all. During the reign of Peter, preference was clearly given to the achievement of England, Holland, Germany, and only to a very small extent can the influence of France be detected.

The reasons for this are obvious: despite Peter I's sincere interest in France and French culture, the desire to establish various ties with this country, he could not achieve mutual understanding with the French authorities, primarily for political reasons.

France was seriously afraid of the strengthening of Russia, which threatened its traditional allies, and therefore it was putting up all sorts of obstacles, including on the way of "cultural borrowing" that contributed to the growth and strengthening of Russian society and the state.

During the first trip of the reformer tsar abroad in 1697-98. Louis XIV refused to let him into France. Only after the death of the "Sun King" did relations between Russia and France warm up a little, and in 1715 Peter I got the opportunity to recruit masters for Russia not only in Amsterdam or London, but also in Paris.

As a result, the first representatives of French artistic culture began to appear in Russia, which had a noticeable influence on Russian literature and art.

The purpose of our work is to characterize the role of the "French component" in the Russian artistic culture of the first half — middle of the XVIII century.

A striking example of the incipient French influence on Russia in the field of art is the work of the French artist Louis Caravac. Born into a family of artists in Marseille, Karavak began his career painting ships, just like his father. In 1715, Karavak signed a contract in Paris with Peter I's representative Peter Lefort to come to Russia for three years to paint portraits, battle paintings, historical scenes and landscapes. As a result, Louis Karavak lived and worked successfully for the benefit of Russia until his death in 1752.

Karavak's paintings cover images of various members of the imperial family and the nobility at different stages of their lives. In addition to portraits, Karavak designed several interiors and painted many battle scenes related to the military victories of Peter I in the Northern Wars.

In the context of our research, portraits of the children of Peter I, painted at about the same time, are of interest. "Portrait of Tsarevich Peter Petrovich in the image of Cupid" (the first quarter (?) of the XVIII century. GRM, GTG) and "Portrait of Tsarevna Elizabeth Petrovna as a child" (1716-1717, GE).

It is important to note that the authorship of the portrait of Peter Petrovich is questionable, but the manner of its execution and the plot, which is unconventional for pictorial Russian art, suggests that these are copies from the original by Louis Caravac ^{[5, p. 11]}.

Tsarevich Peter is represented by the artist in the image of Cupid with a bow and an arrow fired. The portrait in question is made in the form of a tondo. Against the backdrop of a picturesque landscape, a naked cupid leans on a velvet, gold-edged pillow at the moment of launching an arrow. His body is covered with a transparent veil, which is refracted by complex, dynamically developing folds. The sign of the "sun" — the god Apollo - is depicted above the head of the prince. These techniques refer the viewer to the image of rocaille characters who came to France after the turbulent Baroque. Symbols of power - the royal crown and the Order of Andrew  The First-called on the blue ribbon - are next to the baby. 

The Portrait of Tsarevna Elizabeth Petrovna in Childhood (1716-1717, GE) by Karavak deserves special attention. The future Empress, the daughter of Peter the Great and Catherine I Elizabeth Petrovna is depicted in the image of the goddess of flowering plants, fertility, spring and flowering Flora. The interpretation of the image refers to ancient mythology: Elizabeth Petrovna is represented by the artist reclining on an ermine-lined mantle, which emphasizes her royal origin. The gallantry of the plot scene is determined by the depiction of the image of the goddess Flora by a teenage girl in the nude. In her right hand, the young goddess holds a portrait of her father, Peter I, framed with a blue ribbon of the Order of St. Andrew the First—Called, as a symbol of victory in battles with the Swedes.

Louis Karavak and later retains a dominant role in the world of portraiture at the Russian court. A Frenchman paints a portrait of Tsarevna Elizabeth Petrovna (circa 1720, GE). The future Empress appears in a belt image, the character of the portrait is only partially ceremonial. At first glance, the portrait of Karavak contains all the attributes of a ceremonial presentation portrait: a luxurious dress embroidered with silver thread, a neckline with the finest lace, decorated with a precious brooch, a red mantle with ermine fur falling from the shoulders, precious stones adorning the hairstyle of the tsarevna. However, it is worth paying attention to a certain note characteristic of the period of gallant painting inherent in French art, namely, Elizabeth's hairstyle and cold mother-of-pearl color. Flirtatious curls in Elizabeth Petrovna's hairstyle refer to fashionable French trends, curls fall on her shoulders, as if accidentally escaping from her hairstyle, which gives playfulness to a strict ceremonial portrait. Louis Caravac again brings his own, French vision of the image, paying tribute to French fashion.

Any ceremonial portrait inevitably idealizes the model, but here we see a special, "French" idealization: in the portraits of Karavak, members of the royal family become "rocaille" characters, refined and elegant, Frenchmen even more than the French themselves.

A real surge of interest in the culture of France arises in the middle of the XVIII century, during the reign of Elizabeth Petrovna. Despite the break in diplomatic relations between Russia and France, there is a noticeable increase in interest in everything French in Russia, and the "Europeanization" itself acquires a clearly pronounced "French bias". This fact was due to a number of reasons.

When Peter I arrived in France in 1717, the tsar did not rule out the possibility of a dynastic marriage between Louis XV and Tsarevna Elizabeth Petrovna in the name of strengthening relations between the countries, but this union was not destined to take place. Nevertheless, Tsarevna Elizabeth received an upbringing in her childhood, which affected her attitude to France and French culture. From the age of thirteen, the Tsarevna diligently studied French and by the age of sixteen mastered it to the fullest. It can be said that then her love for everything French was born, instilled by her teacher Isaac Pavlovich Veselovsky. It is worth noting that the ascension to the throne of Empress Elizabeth was also not without the help of the French. The seizure of power by Elizabeth Petrovna opened up great opportunities for the future of Franco-Russian relations ^{[4, p. 34]}.

Russian Russian courtiers and aristocratic circles of that time made it common to use the French language in Russian speech, the fashion for French dress, kitchen, furniture and general imitation of everything French became popular. Hence, a special term appeared – Francophilia, which, I must say, does not have a negative connotation, unlike the term "gallomania".

Ivan Ivanovich Shuvalov (1727-1797), a real privy councilor of the Chief Chamberlain, adjutant General of Empress Elizabeth Petrovna, as well as curator of the Moscow University and the Academy of Arts, actively contributed to the development of sciences and art in Russia. Ivan Ivanovich strongly supported Elizabeth Petrovna in her French sympathies, he was in correspondence with Voltaire and was imbued with the ideas of the French Enlightenment. Shuvalov had a habit of self-education, read a lot, being fond of French literature ^{[2, pp. 851-852]}.

Shuvalov established contacts with art centers and academies in France, Italy, and Spain. Worshiping the culture of France, he invited famous French artists, sculptor Nicolas Gillet, painters Le Lorrain, L. J. F. Lagrenet, architect J. B. Vallin Delamotte to teach in Russia. For a short time, Jean-Louis de Velli taught in the painting class. Foreign professors, in accordance with the contract, brought with them a large number of engravings and outstanding works along with their own full-scale sketches and drawings, which replenished the academic collection. Thus, L. J. Le Lorrain left 163 leaves, L. J. Lagrenet – 191 ^{[6, p. 21]}.

In 1756, the brilliant master of the ceremonial portrait Louis Tocquet (1696-1772) arrived in St. Petersburg. During his stay in Russia, the Frenchman executed several ceremonial portraits of Empress Elizabeth Petrovna and other high-ranking persons. At the Russian court, Tokke was a success. The ceremonial portraits of Empress Elizabeth Petrovna were made by a Frenchman in full compliance with the requirements of a ceremonial aristocratic portrait. The artistic techniques used by the master are distinguished by a finely chosen composition, a clear drawing and a spectacular presentation of their models.

Of particular interest are the works of the Frenchman, made in the Rococo style, for example, the portrait of Countess A.M. Vorontsova (c. 1758, GRM), which Tokke presented in the image of the goddess Diana. The decorative embellishment hides a finely outlined composition. The waist image of the Countess occupies the central part of the canvas. Bright blush, blue velvet, flowers in the hairstyle, a pastel-colored dress with soft folds falling from the shoulder - all these techniques emphasize the gallant component of the portrait. The color of the countess's skin contrasts with the dark background of the landscape, behind her is a quiver with arrows - a symbol of the goddess of hunting. In this portrait of the cousin of the Empress Elizabeth Petrovna, Tokke resorts to a popular plot from Roman mythology, but Tokke presents the image of the goddess of hunting not in a militant reading, but, on the contrary, in a coquettishly embellished one.

The same techniques characteristic of the secular art of France, Tocke uses in the portrait of Countess E. A. Golovkina (1757, GE). The Countess is depicted in a velvet blue dress with a deep neckline, which is decorated with a freshly cut rose with petals. The calm look of the Countess, the blush on her cheeks, the velvet and the flower in her hairstyle reflect the lyrical, gentle image of Golovkina and emphasize gallantry and ease. Thus, the French, broadcasting the image of Russian high-ranking persons, carefully brought their own "French" vision, which at that time was considered a reflection of new-fangled trends.

French cultural influence quickly spread not only to painting, but also to the theater. Even before Elizabeth Petrovna ascended the throne, in 1730, a French dancer, choreographer and teacher Jean–Baptiste Lande (1687-1748) came to Russia, who took an active part in negotiations on the invitation of French comedians to the Russian Court.

Negotiations on the arrival of the French drama troupe in Russia began in the time of Anna Leopoldovna. By order of R. G. Levenwolde (1693-1758) and thanks to the efforts of the choreographer Lande, a troupe of French comedians under the direction of Monsieur Jean–Baptiste Duclos was discharged, but the final conclusion of the contract with the French fell on the reign of Elizabeth. Known for her passion for French art and culture, Elizabeth Petrovna preferred the French theater. At the same time, the theater under Elizabeth was focused not so much on the promotion of monarchical ideas, as on well-behaved entertainment. Contributing to the development of European culture and theatrical art, the Russian Empress created for herself the image of an Enlightened ruler of Russia.

The tragedies and comedies of the French troupe, which took place every week, enjoyed great success. The Empress personally supervised the visit to the theater. Elizaveta Petrovna in her "Imperial Majesty's Opera House" carefully, very prudently distributed and painted seats in the auditorium. Elizabeth could cancel or schedule a performance a few hours, and sometimes an hour before the start, replace a troupe or a play (a French comedy with a tragedy, or an Italian interlude, or even a courtag) ^{[7, p. 201]}. While in Russia, French actors received decent money and were caressed by the attention of high society. Jacob Stehlin's statement about the appearance of French comedians is very interesting: "Comedians never appeared except in good suits with real silver or gold braid: for this they sometimes received beautiful and barely worn suits from the court nobility" ^{[3, p. 133]}.

Elizaveta Petrovna tried to create a European, even French atmosphere, which turned out especially well when showing theatrical performances. The presence of the French troupe at the Russian Court to a relative extent determined the prestige of the Russian state in the cultural sphere. Despite the political differences between Russia and France, the ideas of Enlightenment and cultural development have always found a response in the Russian elite.

The attitude to theatrical art as an integral part of the life of the Russian imperial Court worked to develop the idea of the need to open a national theater. First, Elizabeth ordered the founding of the court Cadet theater in 1750, which lasted until 1752 ^{[4, p. 270]}. The next, global step in the history of the theater was the approval on August 30, 1756 of the state "Russian for the presentation of tragedies and comedies of the theater."

But even here, French art has been intertwined with Russian art for many years. Russian playwrights wrote their works, taking the works of the French as a model. French plays were translated and staged for the Russian-speaking public. Having become close to the theatrical circles of the capital, the Russian heraldmaster, playwright and translator Alexander Volkov (1736-1788) successfully translated the plays "The Sicilian, or the Love-Painter", "The Imaginary Patient" by J.B. Moliere, "The Guardian is Deceived, Beaten and Satisfied" by F.K. Dapkura, "Newcomers" by M.-A. Legrand, "The Enchanted Belt" by J.-B. Rousseau, as well as works by Regnard, Marivaux ^[1].

Russian translators Pyotr Svistunov (1732-1808), Ippolit Bogdanovich (1744-1803) often turned to Voltaire's plays. Their translations of the plays "The Chatterbox", "Nanina, or the Vanquished Prejudice" by Voltaire, the plays "The Bastard Son", "The Father of the Family" by Diderot were popular.

Russian Russians, working at the Russian Court, superimposed the vision of their native country on Russia, transforming Russian images in the French spirit.

So, not without the help of art, by the middle of the XVIII century, Russia begins to acquire the authority of an enlightened country. Portraits of the Russian Empress, made by French artists in a rocaille style, highlighted her feminine side. Through engravings, the images of Elizabeth spread throughout Europe, and this "French" image of the empress was recognized in France. Foreign ambassadors and travelers who watched the performances of the French troupe had to make sure that Russia is not inferior to the real France in terms of culture, and, perhaps, in some ways it surpasses it. The art of the French, on the one hand, who worked in Russia, and on the other, who depicted Russian reality for compatriots in the French spirit, was supposed to create a European image of Russia as a "second France", beautiful and perfect.

This policy was partially successful, largely due to the counter-sentiments of the French enlighteners, who were looking for an exemplary enlightened country that could become an example for European monarchs, and, in particular, for the French king.

However, such a propaganda effect achieved with the help of art was inevitably associated with the distortion of Russian reality. Through the efforts of philosophers, writers and artists, Russia turned from a real country into a kind of "mirror" for France, in which she could actually see only herself. Reality sooner or later had to overturn enlightenment dreams and artistic illusions, which happened already in the next, XIX century.